Poem: The Slow Burn of Sorrow

Sorrow rarely storms the gates.
It prefers a smaller entrance—
a match struck against porcelain,
that sulfurous whisper
before light takes shape.

The candle stands upright in its brass throat,
ivory, almost innocent,
its surface smooth as a held breath.
You light it for reasons that feel reasonable—
ambience, perhaps,
or the softness that forgives a room
its hard edges.

The flame gathers itself slowly,
a petal of fire opening and closing
with each exhale in the house.
It leans into drafts you cannot feel,
tilts its bright head
as though listening.

At first nothing changes.
The wax remains sculpted,
cool-boned and pale.
The wick, a slender spine,
holds its posture bravely.

But look closer.

There is a darkening at the tip—
a quiet charring,
the black bead forming
like a thought you would rather not finish.
It glows from within,
red as an ember hiding in its own ash.

The heat loosens the body of the candle.
Not all at once—
never with spectacle.
A thin gloss appears at the rim,
a tremor of liquidity.
Then a slow descent:
wax turning to shine,
shine turning to droplet,
droplet to a small translucent lake
cupping the flame.

You watch.

The surface quivers
whenever the flame inhales.
Tiny tides lap against the unmoving wall.
A fragrance of warmed paraffin
settles into the curtains,
into your sleeves,
into the open mouth of the room.

Minutes pass without declaring themselves.
There is no visible subtraction,
no chunk torn away.
The candle appears steadfast,
nearly identical
to the candle it was.

Yet the wick is shortening
in increments too modest
for pride.
Each second
takes a grain.
Each breath
a filament.

Sorrow proceeds this way.

It does not alter your reflection
all at once.
It warms you from the inside
until something structural
begins to soften.

You still answer the door.
You rinse the glass.
You fold the towel along its old creases.
The day goes on wearing its ordinary clothes.

Meanwhile—
inside the brass holder—
there is a geography forming:
ridges of cooled drips,
stalactites hardened mid-fall,
a white valley carved
around the dwindling core.

The flame continues its patient labor,
unaware of clocks.
It has only one task:
to be itself,
to consume what holds it upright.

From moment to moment
nothing seems different.
The room remains the room.
The table remains the table.
Your hands remain your hands.

And yet—

Hours have thinned the column.
The wick, once vertical,
bends inward,
a tired reed in shallow water.
The molten pool deepens.
The walls cave gently toward the center
as if listening for news.

You glance away.
You glance back.
Still, it burns.

You could swear
it will burn forever.

But eventually you notice
the brass plate shining through
where ivory once stood.
A shallow basin of cooled wax
holds the fossil of flame—
a curled black thread
leaning against its own exhaustion.

Sorrow leaves such evidence.

No crash.
No shattered pane.
Only the quiet arithmetic
of something becoming less
while appearing the same.

You cannot say when the candle
crossed from whole
to almost gone.

You only know
that at some unnoticed hour
the light you trusted
was busy
turning itself
into absence.

© Jill Szoo Wilson, 2026

Poem: Concerto for Springtime and Squirrel

Spring does not arrive in ribbons.
It comes with a throat full of weather.

The sky lowers itself
until rooftops seem to hold it up.
Rain begins without ceremony—
a rehearsal for drowning
that never quite succeeds.

On the oak’s blackened spine
a squirrel emerges,
fur slicked to its quick, astonished body.
It pauses as though the world
has just been repainted mid-sentence.

Green—
not the polite green of greeting cards,
but the kind wrung from the earth
by pressure.

Grass leans forward, fluorescent with rumor.
Moss burns along the stones.
Even the bark darkens into something
nearly blue.

The squirrel descends headfirst,
a punctuation mark with claws,
tail arched like a question
the storm declines to answer.

Water pearls along its whiskers.
It blinks, and the yard rearranges itself.
Every leaf appears newly sworn in.
Every puddle holds a duplicate sky
shivering with revision.

Somewhere thunder practices authority.
The squirrel does not applaud.

It runs—
a brief streak of umber against electric green—
then stops again,
as if suspecting
that sight itself has molted.

What has changed?
The tree remains a tree.
The fence, a fence.
Yet color has stepped forward
and declared independence.

The storm insists.
The earth complies.

And the squirrel,
small curator of the soaked morning,
presses its paws into the vivid grass
as though testing
whether the brightness
will stain.

© Jill Szoo Wilson, 2026

Poem: The Thing Itself

Silence is not the same as peace.
Quiet is different than calm.

Even the lake that mirrors
our sun collapsing
into night’s slow unmaking
teems with life—
muscle and current
moving beneath its silvered skin.

Silence is not the same as peace.


Peace is not an exhale of agreement.
It does not depend
on our foreheads touching
or my lungs
drawing in your breath
as if oxygen were opinion.

Peace does not ask
the mouth to soften
while the heart stays braced.

Peace is not an exhale of agreement.


Contentment is not stagnation.
It is wind finding corridors in air,
invisible highways
where birds trade
the panic of wings
for the steadiness of lift.

Contentment is not stagnation.


A voice once warned,
“Silence
like a cancer grows.”

But silence is a vessel.
Clay.
Hollow.

It holds what we pour into it.


Speaking is not the same as expressing.
Words rise like smoke
from cigarettes of perception,
stinging the eyes,
thickening the air,
blurring the space
between meaning
and what was meant.

Speaking is not the same as expressing.


Volume does not mold understanding.
Voices rise.
The need to be right
outpaces the need to listen.

The echo fills the room
until we cannot hear
each other breathe.

Volume does not mold understanding.


Distorting the self does not create unity.
Your red and my blue
collide into purple—
first a storm in water,
then something dense,
new,
pressing outward.

Distorting the self does not create unity.


To understand the thing itself—
whatever thing it be—

we must remain vessels.

Clay—
not hardened
by fear,
not sealed
by pride.

Open enough
to hold what is spoken
and what trembles beneath it.

© Jill Szoo Wilson, 2026

Poem: A Man Lay Dying in a Field

A man lay dying in a field
between blades of grass,
panting
like a dog without water,
searching for air
not to be found.

In the quiet of night
where darkness
falls
and fills the earth,
spilling into
crevices deep and wide,

he wondered at the sky.
The reasons why
seemed now
to matter most—
there was nothing left
to boast.

Emptied of the fight,
his limbs
dreamed of flight.
Wrists turned upward,
soft skin
receiving midnight dew.

Fluttering eyelashes—
butterfly wings
above his blue.
Whispered memories
of when hope was fresh,
a fruit heavy with sweet.

A sound in the sky.
Wings opened wide.
Staring,
but not seeing.
Hearing,
he began to listen.

A breeze,
like mystery,
rolled in—
a wave in the expanse,
surfing stars
in a cosmic dance.

His limbs began to sway,
cradled by beauty
far and near,
above and surrounding.

His heaving stilled.
Focus tore free
from breathlessness
to oxygen
pouring down
like honey.

Water leapt from his heart,
flooded his blue,
nourished
his soul
and the grass.

A release on the ground.
A release in the sky.
Two powers
surging—
electricity
between earth and heaven.

A man lay dying in a field
until
he decided
not
to
die.

Instead, he laughed.
He writhed in pain
and howled at the stains of grass
on his pants.

When laughter ceased,
the loss,
the pain,
the breathless grief
rose like smoke
and fled into the clouds.

Mystery swirled,
a ghost swinging from the moon.
The living man stood,
said goodbye to the end
and hello
to the new.

© Jill Szoo Wilson, 2016

Poem: Unassembled

This painting by Ruprecht von Kaufmann fascinates me. It leaves the impression that the human figure has been disassembled and placed back into the room without its center.

Rolling thunder—

Sounds like rattling bones

In a makeshift

Barrel

Traveling over uneven bricks—

Coursing through the sky

Varied gradations of height

First loosening the moon

With percussive vibration

Then shaking

Newly budding leaves

Velvet green

From yawning trees

Barely awake.


Scattered light—

Looks like fingers

Flicking away all that flies

Stretching across and

Opening wide

Then curling back inside

A fist pulsating

Currents through the air

Bringing light to where

Shadows live

But only one

Moment at a time

Slowly and

Without warning.


Water pouring—

Tastes like a child’s tears

Hot and heavy

Filled with reflections

Of all that surrounds

But void of understanding,

Simple

Pure

Enveloping the landscape

In a pool of

White

A mirror to the sky

With no pondering of why

Only what.


As above the tempest

So below

The raging gusts of natural disaster

If love be called natural,

If the heart enrapt

In upward gales

And stripped from its

Cavity

Be called disaster—

Stripped, that is,

By freshly painted

Nails of red

Tossed and then released

Into the atmosphere.


And then, stillness invades—

Feels like bated breath

Unwilling to climb

Rungs of the rib cage

Or slip past the tongue

Of one whose

Voice must not be known

Hidden in silence—

No more masking

Than that—

Only quiet

Enshrouding some figure

Crawling past and almost

Out of sight.


Inside the stillness he sits

Shoulders slumped and heavy

Something feels different

(Reality varied)

An inventory begins—

He lifts his hand

To count all his parts

First his legs, yes

Then confirming his arms,

All accounted, yet

Discerning something amiss

His eyes move and

Focus inside

Where the hole was dug.


“My heart,” he panicked

“I am sure this is the space

where once it sat.”

Groping further down

Through his mouth

As though, perhaps

It slid

Descending

Sloshing now in acid—

His fingers reaching

He gags and chokes

Hoping to find it

Inside the vomit

But still he is without.


Coalescence deprived

Nothing more to bind

His pieces together

Like glue or like chains

Wrapping around

And pulling down

To anchor—

Now adrift on the sea

Of humanity

Only he

And his leftover parts

No longer a whole

He floats atop the foam

Like a corpse.


There is a thing that happens

In the mind

Between loss

And understanding—

A vacuum

An unhanding

Of reason

Disillusionment invades

It cascades

And splashes into pools

Of paralysis

Then sinks into rebellion

Before it hits the bottom of

Despondent and

Swirls with caustic deviation.


“Parts for sale,”

He spouts like a madman

From sunrise until

Dusk sits like a spy

On the edge of the moon

Waiting for its chance to fall—

“Pieces for sale,

gently used

never abused

no longer needed

the price is low

everything must go

no credit

only cash.”


The people pass

They point but do not laugh

Sympathy cloaks their eyes

They try to disguise the sadness

And yet,

“I see it there,” he scoffs—

“Do not pity

I have no heart

through which

to feel the pain,

sometimes in life this happens

there is no shame.”

He chops—

“Here, have a leg.”


Then, one passes close

Carrying a bag

Filled with hope.

The sitting man

Raises his hand to ask,

“Soon I will be dead

my last drops bled

with no chance

to renew.

My heart, you see,

was taken from me

and I wonder if

hope can be fastened

to one with no pulse?”


His hurried steps

Do not delay

From the corner of his mouth

He sighs to say,

“I have my heart

inside this bag

with some hope besides

but I tell you true

unless it beats,

an endless repeat,

there is nothing

this spark can do

for you.”

The passing man passes.


The sitting man

Beholds one flicker of hope

Flaming on the ground

He imagines hobbling toward

Leaping forward

But instead

He watches it burn—

Yellow to dark

And then

One line of smoke

Stretches, back curled

Like a cat

Being lifted from the center.

© Jill Szoo Wilson

Photo credit: My dear friend and German artist Ruprecht von Kaufmann, Die Sache mit den Sirenen 2014.

Poem: Drenched

Once I was told that Hope

Is the sky filled with sunshine

That it spreads like light,

Floats like a helium filled balloon,

Dances like the tail of a kite.


I wondered at this metaphor

Sprawling amidst the wind

Like a howling current

Vibrating on the wings of

Birds that flap before they soar.


Can Hope be so far

Above my head

Where only flying things

Rise to tread

And I on the ground

Watching

Awaiting release

Of a treasure trove

Unlatched and

Spilling down?


What if Hope is more like rain—

A simile easier to attain—

It does not gently lie atop

The atmosphere but

Is conjured inside storms

Like a witch’s brew

Bubbling through with contents

Thrown into a fiery caldron

Until that time when

The pressure built, releases.


Storm-soaked orbs floating down

Subject to the whims of

Gusts above and around

Hollow of motivation

Innocent as they fall to the ground.

And we, in soggy shoes,

Choose to stay

In the rain

Marinate

Let it penetrate

All the way through—

Some people run for cover

But not us

Not the dreamers

Or the lovers

Or the ones who understand

That the storms

Force the hands

Of Hope and of those

Stubborn in their wills

To see the brightness

Ahead—

Withstanding

Steeping

In watery expectation.


My friend,

If they tell you

Hope is the sun

Smile, nod and

Move along

With squeaky shoes

Leaving tracks

On the ground

To be found by those

Who seek the courage to drown.

© Jill Szoo Wilson, 2026

Poem: Only a Hand

His hand was only a hand

With veins that rose and fell

Like gently rolling waves

A dip and a swell

Giving life to all within

Beneath the water and his skin.


His brush was only a brush

With bristles short and soft

Like freshly growing grass

Subject to the windy wafts

Of springtime growing new

Filling in the lines he drew.


His eye was only an eye

With so much more behind

Like the shade of green

That bends and winds

Beneath the skin inside her wrist

Deeper still before a kiss.


His art was only art

With confines of space and wood

Like the forest she explored

In the freedom of childhood

Filled with shadows and light

An expanse of elation and fright.

© Jill Szoo Wilson, 2026

Poem: Woman Waking

She lifted her hands toward the sky—

White and heavy with snow-laden clouds—

And stretched all the way through

From the tips of her fingers

To the delicate curves of her ankles:

A sound flew and then fell from her lips.


It was a sigh of awake, a dream of asleep—

Her breath still deep but rising to the surface—

She could see the wrinkles of her pillow

Branded into her face, holding on

Until they too had to fall from her cheeks

And rise, like steam from a cup of coffee.


The birds outside her window sang—

Songs of newness, routines and plans—

And then they were muted by the clamor

Of coffee beans bursting with fragrance

And tones more lively than even the birds

Could muster through beaks that sip only water.


She sat at her table wearing pajamas—

White cotton speckled with flowers of pink—

And she touched the tip of her mug

To lips that had not yet spoken into the day

But made only the sound of awake

And she swallowed the warmth as she thought.


Her thinking became clear and her eyes became bright—

Brightened like snow when the sun begins to shine—

A plan began to spin and to whir

Like the cogs in a machine newly oiled,

The sound of movement—of forward—

And she hopped on the sound like a wave.


Into the day she rode on an idea with wings—

The feathers were big like those of an angel—

Her hair blew backward and also to the sides

Into air that felt the way water feels

When at first the faucet cascades

Before the heat of hot has time to warm.


She was not sure where she was going—

The going was more important than the where—

Beating inside her was a heart

Burning inside was a feeling

Rising inside was a hope that

Waking was only the beginning.

© Jill Szoo Wilson, 2026

Poem: Lighthouse Hero

She called to him

Beneath a veil of night

When summer wore

Its hottest mask

Wax and dripping

Onto the earth

Leaving sticky puddles

Drenched and drying fast.

He was ill equipped

From skin to guts

No cape in his wardrobe

Or spectacles to hide his eyes

Paralyzed

By the fear–

No not the fear–

The knowing.

Knowing that his will

To fight for love

Was vacuum packed

And wrapped in moth balls,

It wreaked of age and of

The stench of desperate attempts

And falls–

Memories of unanswered calls.

Calls for him to be the one

The victor in the storm

Brimming to capacity

With strength enough to

Hold her heart–

At least her hand–

Across jagged tightropes

Stretching over pits of sand.

Quicksand questions

Lined with glue

Meant to close the chasm

Between expectation and

What is true–

Catechisms from the past

Never brought to light

Long enough

For queries to last.

What lasted was uncertainties

And now he paid the price

Not wanting to lose

Her

But unprepared to fight

All he could muster

Was a broken hero’s

Journey into night.

Night fell

Long past its time as

Summer solstice

Lazily drew its haze

Upon a sultry sky–

Like the afterglow

Of a camera’s flash

Imprinted behind the eye.

Eyes heavy with fatigue

Propped open by ambition

He pulled his jeans up high

Belted at the waist

Sat on the dew-drenched seat

Slicing through salt

Like he was a Sodomite Sculptor

Entering the competition.

A competition

Against himself

Against the doubt

Bubbling through

His tightening veins

Waking him from

Slumber of uncertainty to

Valor through adversity.

Adverse conditions

In the black

Gave way

As light he carried

Burned a path

Radiant as day–

Along the way he set it down

The dread that he had nothing to give.

He gave her a coordinate–

It was all he had–

A map written in the air

To help her find him

Approaching beneath a beacon

Brave and bright

Like a compass

More meticulous than starlight.

Starlight led her way

Across a stretch of sand

The edge of land

And water

Lapping against her skin

Deep and

Deeper still

She wandered toward the glow.

Glowing first as though a firefly

Small and far away

His vessel cutting through

The foam, mocking delay

For time no longer mattered

As slow their paths came near

He, soaked with ocean

She, doused in tears.

Her tears were anvils

From her soul

Releasing injured expectation

She felt her heaviness go–

Fly

Into the heavens

Where drafts outweighed

The currents swirling down below.

She never saw below

The hidden treasure trove

Inside his hidden space

The place

Where thought and emotion

Ruptured like burdened banks

To flood his heart and

Overflow–

Overflows of adrenaline

Like rain

Saturated and drowned his pain

Leaving only

In the boat

He and the lighthouse he kept

For her

A flame no longer detained.

No act of the Furies could detain

His passage toward her eyes

The two he knew without seeing

He could feel at the side of his neck,

Glimpse behind the pillow

Where once she lay

Inside his dreams

And–in the middle of day.

The glow began to grow

He rowed like a man

Pursued by death

And she

Released a laugh

That tore his heart

From two parts into one–

He dropped the oars so he could run.

He ran to just before her

Then stopped to etch her

All

Inside his mind

Where secrets forever kept

Could burrow, rest and hide,

"I came for you,"

He said–

She already knew

But she feigned a big surprise,

"I wondered at that

single point

upon the horizon growing

never knowing

whether I should run away

or stay."

"I am glad you stayed,"

He kicked some sand

Between his shoes

And cleared his tightening throat,

"Now that you have

would you allow

this reluctant pirate

to stay here, too?"

She blew out the candle

Burning above his face–

No need to keep it lit

Inside this place

Where journey’s end

Had come to rest–

"I never really lost you,” he said–

"Then I was never really lost."

© Jill Szoo Wilson, 2026

Poem: Exit, Stage Left

You left the room
with a clumsy flourish,
the door slammed quickly—
reverberating force
like a vacuum cleaner
shaking the dust, until
every corner rattled, left clean,
untraceable—
the map you had in your hand
a plan
long before anyone knocked.
You ran.

But you forgot about me.

You fled the scene
like a small boy whose shadows
stalked him
though he could not hear
the others say,
"That's simply the moonlight
trailing behind as it breaks
upon your face."
Merely a shadow.
I was the one whose voice you heard
I was still there—
I ran to the door
watched you flee,
from the entrance
you turned into an
exit.

But you forgot about me.

You closed the door with a lie.
Later
I closed the door with the truth—
One isn't better than the other.

Yes it is.

You had a victim's mask in your pocket
all along—
pieces of your defense
glued together
at my expense
wrought in a place of false pretense
cutting the edges of your hands
shaking at the moment of
planned dispense—
the past is a map.

Now I see

what before I missed.

(There is no before . . .
Sure there is.)

You were the one who always
showed up
until showing came with a price
which is not showing to give
but to take what you could
while fingering the razor
you'd use to excise,
lingering as long
as I was the sacrifice—
your comfort the key
my love the prize
your time a carrot
my loyalty a vice.

But you misread me.

I was telling the truth all along—
on the notes of every song
in the lines of the poems
and walks in the sand
in the gaze of my eyes
the touch of your hand
the finding and seeing
hearing, agreeing,
unfolding, repeating,
the four loves
and being—
freeing.

But you didn't see me.

I was there.
I remember it all.
I know the true parts
and the ones you call false—
what you call a dirge
was clearly a waltz
one-two-three, one-two-three,
I wasn't weak—
that’s never been me—
life has taught me resilience,
presence,
when to be quiet and
when to speak.

But now you can’t hear me.

I said the truth
with a slam—
for every action there is reaction—
that's what I teach.
You were "the other,"
my other,
I paid attention in full—
you had it all—
then, it was a gift to you
now, a gift to me
because as I look back I can see
we—you and me—
found our way to
living truthfully.
These scenes lay unrevised,
unchanged by your alterations—
the story is the same
no slight of hand
will defy the playwrights’ vision
like a Choose Your Own Adventure can—
the plot is still thick
(you know it's so)
we wrote the pages
created the spaces where each scene would go.

But you upstaged yourself and I left it all on the boards.

The places we graced
now empty stages
but stages withstand
construction and striking,
building up and tearing down
don't change reality
or the things we knew
the verbs, the nouns—
as the ghost light rolls on
what changes is
me
and yes,
even you—
and so, we.

© Jill Szoo Wilson, 2023